Not a Pretty Picture

This year’s Turner prize seems to have exhausted nearly everyone involved. But the International Herald Tribune covers the work in a positive, though maybe not entirely convincing, way:

“Art today is no longer about pretty pictures,” said Marc-Olivier Wahler, director of the Palais de Tokyo, the contemporary-art museum space in Paris. “The artist is free to express whatever he wants; artworks are more often than not frustrating, troubling and make the viewer re-examine his preconceptions.”

This year’s short-listed artists were not especially easy to understand, said Deuchar, the jury chairman. But, he added in a interview broadcast by the BBC, “the public is not frightened by art that requires some investigation and whose meaning is not instantly clear.” [ . . . ]

(A more defiant defense of the Turner prize work after the jump.)

These works are the product of “a seismic shift in the appreciation of the visual arts in Britain,” said Button, the historian of the prize. “They are polythemic; they can be appreciated on many different levels.” This adds to their richness and complexity, she said. “No contemporary artist would say there is one way of looking at a work,” Button said.

Kerr, the curator, agreed. Artists are engaging in a multilayered exploration of their universe, she said, “a sort of collaging in every sense.”

“New media are available to artists,” Kerr said. “Art is no longer confined to painting and sculpture. Art is taking on a whole new language, about testing and exploring, in a sense growing up, moving on from sensationalist statements to something more thoughtful and thought-provoking.”

She added: “British art is heading into a different place. The work requires more attention; it’s in a more thoughtful place. It’s intriguing, challenging, deeply rooted in aesthetics. We’re heading to redefining what it means to be modern – post-post-modernism.”